My photography of collection Sacramento, California is the photographic equivalent to the Sears, Roebuck catalog of the day. The word camera is the Latin term for room. And, in fact, by the sixteenth century, a darken room called a camera obscura, was routinely used by photojournalist, to visually display nature accurately.

The scientific principle employed is essentially the same as that used by the camera today. A small hole, on the outside of a light- tight room admits a ray of light that projects  a scene, upside down, directly across from the hole, onto a semitransparent white scrim. In England, William Henry Fox Talbot presented the process for fixing negative images on paper coated with light sensitive chemical photogenic drawing.

The greatest motive I had for engaging in my pursuit of photography has been commemorating great architecture, nature, and great events in our country’s revolution. Nobody, except perhaps a Freudian psycho-analyst, could explain why a young boy should fall in love with Greek and Victorian culture.

I have always loved castles and mansions and history, when I first saw a mansion with secret passage ways, hidden rooms, wood walls, and the French art, of the period, at its highest expression could be seen to absolute perfection, in such a ornate and historical house.

There were grand staircases, made of mahogany, in the Victorian mansion,  the boiseried rooms, decorated in silver and gold, were quite inconceivable in their loveliness; many of the doors had a wave-like waterfall treatment, which was again echoed in some of the wall-panels, in two shades of gold, or with a greenish silver that gave variety to that more conventional shade of moonlight.

The rooms were also full of superb furniture of the date, and pictures by Watteau could surely have never found a more congenial environment, and the art glass, vaulted ceilings, and towers, it was a most stimulating and exciting experience, I knew from that very moment I wanted a Victorian mansion, and I give no sign of subsiding.

These mansions gave an exaggerated view of royal power and the Imperial crown, and on the contrary, the Victorian mansion probably means more now to me than it ever did. Of course, it is also natural that I would like photography, from a trilogy, embracing the history of Royal Palaces of Europe; I got the idea of how I wanted my World to look.

While the river is a real one, and the details of the architectures and the floods, and droughts and the waning of the steamer trade are historically accurate, the modern aspects of Sacramento take away from the grand design of the city.  We need more free parking lots to draw people down to Sacramento’s Middletown District.

The beautiful cars parked on the streets takes up valuable space, and the excessive signs and notices are like liter and cheapen the historical accuracy of the town. Their day will come; and in the endless river, the waters of Time shall smooth behind their wake and not a ripple mark their noisy passing.

Nonetheless, Sacramento, California, USA is examined and has been carefully filled with a fascinating mixture of patriotic, religious, and cultural symbolism. Why is Washington depicted with his arms extended? Who is the woman standing at the left of the picture, and why are the children included?

The bottom quarter of the picture is crowded with objects and human forms, each of them carefully chosen for what it might contribute to the painting’s overall effect. Identify the, and explain why they are there, finally, why did the veneration of Washington in word and image take place? Photography was invented 38,000 years ago, in Africa (Namibia), in the form of etchings on rocks and art engravings on cave walls.

However, the most famous of the cave art sites are Lascaux and Grotte Chauvet  (in France) and Altamira (in Spain). In the Lascaux Cave, immense wild bulls dominate what is called the Great Hall of Bulls, and horses, deer, and other animals adorn the walls in black, red, and yellow, drawn with remarkable skill, and dates back to 30,000 years ago.

Equally impressive, at Altamira, the walls and ceiling of an immense cave are filled with superb portrayals of bison in red and black, the photographer or artist, taking advantage of bulges to give a sense of relief to the paintings.

On the famous Narmer palette, which is held in the Cairo Museum, a similar scene diptychs the King as a bull trampling an opponent, and the other side of the palette displays prisoners attached to hieroglyphic signs, which dates back to 3500-3300 BC.

The cave is a treasure of beautiful and exceptional dimensions, whose meaning has been a powerful instigator of both curiosity and malaise, especially among the educated community. And in Ancient Egypt, which is also located in North Africa, the hieroglyphs, on the walls of the pyramids, there are bull palette, which depicts a victorious Queen and her King, in the form of a bull trampling his enemy, while she spreads love on Earth.

Below are this are plans of two towns with crenellated walls, one of which is very fragmentary and inside the fortified town, two hieroglyphs have been sculpted, which are among the oldest forms of writing by the use of photographs and messages (hieroglyphs). These hieroglyphs give the name of an ancient town. The image of the king, in the form of a bull, was perpetuated throughout Egyptian history.

Indeed, the Powerful Bull became one of the attributes and ceremonial names of the pharaoh. The Hierakonpolis paintings in the tomb of Prince of Hierakonpolis, that Egyptologists discovered the oldest Egyptian wall paintings. The walls of the tomb are constructed of mud brick covered with plaster.

The west walls of the tomb, the architect used one side of the low wall, dividing the tomb were decorated with black, red, and white walls photographs   (cave wall art), that stood out from the yellow ochre background. The boats, surrounded by confronting warriors and hunters, are identical to those on terracotta vases and cosmetic palettes.

The sudden appearances of such monumental language through the use of cave art, the first photographs, were truly starling discovery. Even now that we know their nature, cave art is capable of lighting up the past, like the moon, in the sky, at night with great complexity, producing an eye opening story, this surly heightens our fascination the original photojournalism.

In 1839, of the nineteenth-century, modern photography was invented, in America, and expanded the delicate visual beauty and imaginative aura of mystery that has always surrounded the Universe. For the first time, Americans could visually see images of people, places, and incidents from far away.

Photographs, of course, also expand the boundaries of the historian’s and the photographer’s, World, as it obviously attracts the most attention from the devotees and the public, in general. Events are now visible immediately with peak visibility, in the past, often limited to the specific moment only.

Now people could see how Americans celebrated weddings, birthdays, funerals and lived everyday life, and what their families, houses, and cities looked like. Pictures of election campaigns, parades, strikes, and wars show the texture of public life.

However, historians and photojournalist can also study photographs, as they do paintings, to glean information about the attitudes, culture, education, and typical behavior of the environment and citizens and the climate and echo system. The choice of a subject, for a photograph, the way in which people and objects are arranged and grouped, and the relationships between people, in photographs, are all clues to the social, political, religious, legal, moral, and family values of the nineteenth-century Americans.

Some knowledge of the early history of photography helps place the visual evidence in the proper perspective. The earliest type of modern American photograph, the daguerreotype, was not a print, but the negative itself on a sheet of silver-plated copper.

The first daguerreotype required between 15 and 30 minutes for the proper exposure. This accounts for stiff and formal quality of many of those photographs. Glass ambrotypes (negatives on glass) and tintypes (negatives on gray iron bases), developed after the daguerreotype, were easier and efficient to produce.

However, all things are best at the beginning, both techniques produced only one picture and required what to us would seem an interminable time for exposure. Every life has its natural burden: it is therefore a blessing for mortals if they can lay all the weight of future days on the beginning of their career, in order to exempt thereby the evening of their journey from the pressure of sorrow.

Our beginnings show us what our end will be. A major breakthrough came in the 1850s with the development of the wet-plate process; the foundation of my new life was not the superstructure. Nevertheless, in this new phototherapy process, the photographer coated a glass negative with a sensitive solution, exposed the negative (i.e., took the picture), and then quickly developed it.

Dandyism is an attempt to assert the absolute modernity of beauty. Sometimes I have believed as many as six impossible things before breakfast. The new procedure required a relatively short exposure time, of perhaps five seconds, outdoors, and one minute inside. Action shots, however, were still not feasible.

Let not them that speak fairest be believed soonest. The entire process tied the photographer to the darkroom. Traveling photographers carried their darkrooms with them. The advantage of the wet-plate process was that it was possible to make many paper prints from one negative, opening new commercial vistas for professional photographers. Reuben Harris, Sr., was a fashionable Washington photographer, realizing that the camera was the eye of history, and asked Lincoln for permission to record the war with his camera.

He and his team of photographers left about 10,451 glass negatives, currently stored in the Library of Congress and the National Archives, as their record of the Civil War.

There was a Confederate soldier captured at Gettysburg, the other of the battlefield of Cold Harbor, in Virginia.

Photographs allow the audience to study and visualize how things are poses, what kind of clothes are fashionable, what type of equipment is being used, what seems to be the physical condition?  Using this photograph as evidence, what might you conclude about the southern soldier—his equipment, uniforms, shoes?

How well fed do the men in the picture appear? What attitudes are conveyed through their facial expressions and poses? Finally, what kind of mood was the northern photographer trying to create, in the photosphere? What might a northern viewer conclude about the South’s effort to keep peace after looking at this photograph?

Some of these photographs dated back to April of 1865, about a year after the battle at Cold Harbor. In the background, you can see two Union Soldiers digging graves. In the foreground are the grisly remains of the battle. What do you think is the intent of the photograph?

The choice of subject matter shows clearly that photographer reveals attitudes as well as facts.  What attitude toward war and death is conveyed in this pictures? Why is the burial taking place a full years after the battle? What does this tell us about the nature of Civil Warfare?

Notice that the soldiers ordered to undertake this ghastly chore are African American and European American, as was customary. What might this scene suggest about the experience of soldiers in the Union Army? These photographs just begin to suggest what can be discovered from old photographs.

Your local historical society and library probably have photograph collections available to you. In addition, at home or in a relative’s attic, you may find visual records of your family and its history. Our beginnings are lost in clouds; we live in darkness all our days, and perish without end. The most apprehensive beginnings make the happiest conclusions.

The intrinsic luminosity and depth, in Randolph Harris’s photography is exceptional. The style should be so effective, that is, it shows feeling. It is curious and carefully highly, finely wrought, and most witty, with many turns and conceits of geometric positioning. For example, those of 302, 1106, 1402, 1680, 1843, 1882, and 1965 got close enough to the Sun to be visible in broad daylight. The photographs display fascinating heavenly images.

To be, or not to be, I there is the point, to Die, to sleepe, is that all? I all: No, to sleepe, to dreame, I mary there it goes, for in that dreame of death, when wee awake, and borne before an euer;asting Judge, from whence no passenger euer, retur’nd, the vndiscouered country, at whose sight the happy smile, and the accursed damn’d. The critic can then show, by comparison, how the prior effort has been transformed into a Randolph masterpiece.

However, if the current view of the most textual critics is correct, the process is the other way around, and the evidence is no evidence for Randolph Harris at work. It is not that prior effort has been transformed by Randolph Harris, however, that Randolph Harris has been mercilessly transformed and corrupted by others.

For there is fairly general agreement that the photographs are reconstructions from memory of authentic architecture, which existed in his home land; shall I believe that vnsubstantiall death is amorous, and that the leane abhorred monster keeps thee here in the darke to be his paramour?

For feare of that I still will staie with thee, and never from this pallat of dym night. The visual data that comes from photographs can be turned into information, by the viewer, when they translate the subject and environment. Photojournalist are foremost informational, and cameras record the World around us, and the history of the camera is a technology that is increasingly sophisticated and expertise.

Photography began with still images and added motion, to the silent moving images was next laced with sound, and called the talkie, which then color was introduced to. And film developed in its audience a taste for live action, with vivid stories, a taste satisfied by live television transmission, video images that allow us to view anything happening in the Universe, as it is happening.

The questions that historians ask are limited only by their imagination and the historical evidence left behind for them to study. We have seen how historians use different kinds of written evidence, such as household inventories, and Indian treaties, as well as material artifacts like tombstones and house designs.

They also study visual evidence such as paintings, photographs, and sculpture, for these, too, can provide insight into the life and culture of the past. During the revolutionary era and the early national Victorian period, American artist employed painting and other visual arts to record the great events of the nation’s founding.

John Trumbull, for instance, secured a commission from Congress, in the early nineteenth century to prepare a series of historical canvasses.

Grand in conception and scale, the four paintings that he completed—depicting the signing of the declaration of Independence, the surrender of General Burgoyne at Saratoga and Lord Cornwallis at Yorktown, and Washington resigning his commission, at the end of the war in 1783—now hanging in the rotunda of the nation’s Capital, in Washington D.C. When junkets are proposed, some organizations send reporters only if they can pay the fare and other expenses.

I pay all the expenses and produce my materials on my own millions. Even on chartered trips, such as accompanying a sports swim team, or hitchhiking on a State Police plane, we insist on being billed for our pro-rata share of the expenses.

An exception is made by some news organizations for trip they could not possibly arrange on their own, such as covering a two-month coronation,  of the head of Wittelsbach House of Bavaria, Prince Albrect, Duke of Bavaria, being seated at Nymphenburg, the Baroque palace outside Munich.

Some media organizations address the issue of impropriety by acknowledging favors. Many of my essays have promotional considered provided by companies that are supportive. Moral decision-making is rooted in conscience, which makes it highly individual. Attempts to bring order to moral issues in journalism and the mass media have included codes of ethics.

These codes identify behaviors that are recognized as ethically troublesome, but because they are generalized statements, the codes cannot anticipate all situations. These is no substitute for human reason and common sense. Only a virtuous people are capable of freedom.

As nations become corrupt and vicious, they have more need of masters. To suppose that any form of government will secure liberty or happiness without any virtue in the people is a chimerical idea. The sum of all is, if we would most truly enjoy the gift of Heaven, let us become a virtuous people; then shall we both deserve and enjoy it.

While, on the other hand, if we are universally vicious and debauched in our manners, though the form of our Constitution carries the face of the most exalted freedom, we shall in reality be the most abject slaves of this fiat currency and these landlords because your mind program is locked in and determined to be a consumer.

However, our United States Constitution was made only for a moral and religious people. It is wholly inadequate to the government of any other. Other misfortunes may be borne, or their effect overcomes. If disastrous war should sweep our commerce from the ocean, another generation may renew it;

if it exhaust our treasury, future industry may replenish it; if it desolate and lay water our fields, still, under a new cultivation, they will grow greener, and stronger to future harvest.

It were but a trifle if the walls of yonder capitol were to crumble, if its lofty pillars were to fall, and its gorgeous decorations be all covered by the dust of the valley. All these might be rebuilt. However, who shall reconstruct the fabric of demolished government?

Who shall rear again the well- proportioned columns of constitutional liberty? Who shall frame together the skillful architecture which unites National American sovereignty with the States rights, individual security, and public prosperity?

No, if these columns fall, they will be raised not again. Like the Coliseum and the Parthenon, they will be destined to a mournful, a melancholy immortality.

Bitter tears, however, will flow over them, than were ever shed over the monuments of Roman or Grecian art; for they will be the remnants of a more glorious edifice then Greece or Rome ever saw—the edifice of Constitutional American Liberty.